David Drew (1938–2015) brought a lively intensity and wit to all the character roles he danced with The Royal Ballet, expertly driving forward the drama. In his diverse roles he demonstrated a deep understanding both of character and of the art form, and was a magnificent partner of numerous ballerinas.

Drew choreographed several ballets (the first, Intrusion, was performed by The Royal Ballet in 1969 with Jiří Kylián in the cast) and wrote the scenario for Northern Ballet’s The Three Musketeers in 2006. He taught pas de deux at The Royal Ballet School and contributed to its popular choreographic course led by Norman Morrice. Another of his long-standing projects was to revive Robert Helpmann’s wartime classic Miracle in the Gorbals, produced by Birmingham Royal Ballet in 2014.

The Royal Ballet has paid the following tribute:

‘David Drew was a linchpin of The Royal Ballet over many decades and was a true Company member with every fibre of his being. His tireless and unceasing energy and talents extended far beyond the many fine roles he danced and created as a Principal and Character Artist. His passions were many and varied, always pursued with relentless energy and an unshakeable integrity.

‘Among his many causes he was a great champion of working conditions for dancers. He was instrumental in setting up the Dancers’ Pension Fund and also the group that became the precursor to Dance UK. His keen interest in and involvement with the re-development of the Royal Opera House contributed much to the rehearsal facilities now to be enjoyed by the current and future generations of Royal Ballet dancers. Many famous names of the dance world passed through his pas de deux lessons at The Royal Ballet School. His work with Norman Morrice on the School’s choreography course and his subsequent encouragement of so many young choreographers both within and outside The Royal Ballet organization helped fledgling, many now firmly established, creative artists. And there was, of course, his personal, fervently pursued passion, his choreography and latterly his work on new ballet scenarios and re-creations and restagings of ballets from the past.

‘All who knew “Drew” as a personal friend and colleague will feel his loss keenly. He was a larger than life character, an extremely talented, passionate, huge hearted, generous, loveable, devoted and loving man, all characteristics that permeated both his artistic and personal life. He achieved much for the dance world and its inhabitants.’

Kevin O’Hare, Director of The Royal Ballet, dedicated the performance of Romeo and Juliet on Saturday 17 October to David Drew. ‘All of us at The Royal Ballet will be forever grateful for everything David did for us and it will not be forgotten’, said Kevin. ‘He will be missed.’

Author and visual artist Audrey Niffenegger (The Time Traveler's Wife, Her Fearful Symmetry) has enjoyed huge success in the literary world but is about to embrace a new art form through a collaboration with Wayne McGregor. Together they have produced the dark balletic fable Raven Girl. We spoke to Audrey about the challenges of working in this new field:

Ballet is more traditionally associated with swans rather than ravens, and the title alone indicates that this is a ballet with a difference. What inspired the story?

Years ago I read an article about a plastic surgeon who wanted to do avant-garde things, like letting people have wings or tails or horns or whatever else they wanted, and the only thing holding him back was the ethics behind it. At the same time, I found myself thinking about transgender people, who are applying medical solutions to existential problems. I thought it would be very interesting if a person who felt she was really a bird, encountered a plastic surgeon who was willing to make her into one.

Before I started work on this collaboration, I had this character – the Bird Girl – in my head. Her mother is a raven and her father is a postman, and she is the product of this inter-species marriage: part-human and part-bird. In a fairytale, she would have gone to a wizard or a sorceress, however in the modern world you just consult the medical profession to see what they can do for you.

Can you describe your creative process working with Wayne?

Wayne suggested creating something from scratch, and specified that he’d like a fairytale. I already had a little character in mind, and so I pulled together the basic bones of the story in writing. However, what had attracted Wayne to my work in the first place was the imagery and so I then started to get busy creating images.

Wayne's very disciplined but also very enthusiastic and so he was able to make suggestions that informed what the story became without being overbearing.

How involved have you been with the set and costume designs?

I’ve had several conversations with the designer Vicky Mortimer, but she is free to do what she wants to do. It is interesting to see her designs because they have a complete aesthetic of their own. She’s not trying to imitate my drawings, but is taking elements from the prints that I made and reproducing them as 3D objects on stage. There are some things only mentioned briefly in the text that she has turned into actual environments, and there are some details that were in the pictures that she has realized as objects on stage.

Illustrations from Audrey Niffenegger's Raven Girl, published by Jonathan Cape.

Prior to working on Raven Girl you'd had no experience of ballet. What are your thoughts on the art form now?

About eight years ago I received an email from former Royal Ballet Principal David Drew. He’d read my book Three Incestuous Sisters and thought it would make a great ballet. When I was next in London, we met up and he quickly realized that I knew almost nothing about dance so he starting showing me around. He’s been with the Company for years and is like a walking history of The Royal Ballet. It was wonderful to be a fly on the wall at the Royal Opera House and to see the dancers and the choreographers working.

In that respect, my experience of ballet is kind of backward. I am more interested in the making of things than the performance - watching it coming together.

My technical knowledge of ballet is almost non-existent, and, because I’m so ignorant of it, I’m always incredible excited by what I see. Because I've always been interested by the visual spectacle, it’s like I’m six again and it’s all brand new!

Generous philanthropic support has been provided for the production from The Taylor Family Foundation, Mr and Mrs Brian Capstick, David Hancock, Linda and Philip Harley, one anonymous donor and The New Ballet Works Syndicate.